I want to share with you a short, jarring essay I read in the New York Times this week, but first a little background.

For some time now, I’ve been worrying about how tech companies (and the technologies they employ) harm us when they exploit the very qualities that make us human, like our curiosity and pleasure-seeking. Of course, one of the outrages here is that companies like Google and Facebook are also monetizing our data while they’re addicting us to their platforms. But it’s the addiction-end of this unfortunate deal (and not the property we’re giving away) that bothers me most, because it cuts so close to the bone. When they exploit us, these companies are reducing our autonomy–or the freedom to act that each of us embodies.

Today, it’s advertising dollars from our clicking on their ads, but tomorrow, it’s mind-control or distraction addiction: the alternate (and equally terrible) futures that George Orwell and Aldous Huxley were worried about 80 years ago in the cartoon essay I shared with you a couple of weeks ago.

In “These Tech Platforms Threaten Our Freedom,” a post from exactly a year ago, I tried to argue that the price for exchanging our personal data for “free” search engines, social networks and home deliveries is giving up more and more control over our thoughts and willpower. Instead of responding “mindlessly” to tech company come-ons, we could pause, close our eyes, and re-think our knee-jerk reactions before clicking, scrolling, buying and losing track of what we should really want.

But is this mind-check even close to enough?

After considering the addictive properties of on-line games (particularly for adolescent boys) in a post last March, the reply was a pretty emphatic “No!” Games like Fortnite are using the behavioral information they syphon from young players to reduce their ability to exit the game and start eating, sleeping, doing homework, going outside or interacting (live and in person) with friends and family.

But until this week, I never thought that maybe our human brains aren’t wired to resist the distracting, addicting and autonomy-sapping power of these technologies.

Maybe we’re at the tipping point where our “fight or flight” instincts are finally over-matched.

Maybe we are already inhabiting Orwell’s and Huxley’s science fiction.

(Like with global warming, I guess I still believed that there was time for us to avoid technology’s harshest consequences.)

When I read Tristan Harris’s essay “Our Brains Are No Match for Our Technology” this week, I wanted to know the science, instead of the science fiction, behind its title. But Harris begins with more of a conclusion than a proof, quoting one of the late 20th Century’s most creative minds, Edward O. Wilson. When asked a decade ago whether the human race would be able to overcome the crises that will confront us over the next hundred years, Wilson said:

Yes, if we are honest and smart. [But] the real problem of humanity is [that] we have Paleolithic emotions, medieval institutions and godlike technology.

Somehow, we have to find a way to reduce this three-part dissonance, Harris argues. But in the meantime, we need to acknowledge that “the natural capacities of our brains are being overwhelmed” by technologies like smartphones and social networks.

Even if we could solve the data privacy problem, humanity will still be reduced to distraction by encouraging our self-centered pleasures and stoking our fears. Echoing Huxley in Brave New World, Harris argues that “[o]ur addiction to social validation and bursts of ‘likes’ would continue to destroy our attention spans.” Echoing Orwell in Animal Farm, Harris is equally convinced that “[c]ontent algorithms would continue to drive us down rabbit holes toward extremism and conspiracy theories.”

While technology’s distractions reduce our ability to act as autonomous beings, its impact on our primitive brains also “compromises our ability to take collective action” with others.

[O]ur Paleolithic brains aren’t build for omniscient awareness of the world’s suffering. Our online news feeds aggregate all the world’s pain and cruelty, dragging our brains into a kind of learned helplessness. Technology that provides us with near complete knowledge without a commensurate level of agency isn’t humane….Simply put, technology has outmatched our brains, diminishing our capacity to address the world’s most pressing challenges….The attention [or distraction] economy has turned us into a civilization maladapted for its own survival.

Harris argues that we’re overwhelmed by 24/7 genocide, oppression, environmental catastrophe and political chaos; we feel “helpless” in the face of the over-load; and our technology leaves us high-and-dry instead of providing us with the means (or the “agency”) to feel that we could ever make a difference.

Harris’s essay describes technology’s assault on our autonomy—on our free will to act—but he never describes or provides scientific support for why our brain wiring is unable to resist that assault in the first place. It left me wondering: are all humans susceptible to distraction and manipulation from online technologies or just some of us, to some extent, some of the time?

Harris heads an organization called the Center for Humane Tech, but its website (“Our mission is to reverse human downgrading by realigning technology with our humanity”) only scratches the surface of that question.

For example, it links to a University of Chicago study involving the distraction that’s caused by smartphones we carry with us, even when they’re turned off. These particular researchers theorized that having these devices nearby “can reduce cognitive capacity by taxing the attentional resources that reside at the core of both working memory and fluid intelligence.” In other words, we’re so preoccupied when our smartphones are around that our brain’s ability to process information is reduced.

I couldn’t find additional research on the site, but I’m certain there was a broad body of knowledge fueling Edward O. Wilson’s concern, ten years ago, about the misalignment of our emotions, institutions and technology. It’s the state of today’s knowledge that could justify Harris’s alarm about what is happening when “our Paleolithic brains” confront “our godlike technologies,” and I’m sure he’s familiar with these findings. But that research needs to be mustered and conclusions drawn from it so we can understand, as an impacted community, the risks that “our brains” actually face, and then determine together how to protect ourselves from it.

To enable us to reach this capable place, science needs to rally (as it did in an open letter about artificial intelligence and has been doing on a daily basis to confront global warming) and make its best case about technology’s assault on human autonomy.

If our civilization is truly “maladapted to its own survival,” we need to find our “agency” now before any more of it is lost. But we can only move beyond resignation when our sense of urgency arises from a well-understood (and much chewed-upon) base of knowledge.

This post was adapted from my December 15, 2019 newsletter. When you subscribe, a new newsletter/post will be delivered to your inbox every Sunday morning.

I’m frequently reminded about how oblivious I am, but I had a particularly strong reminder recently. I was in a room with around 30 other people watching a documentary that we’d be discussing when it was over. Because we’d all have a chance to share our strongest impressions and it was a group I cared about, I paid particularly close attention. I even jotted down notes from time to time as something hit me. After the highly emotional end, I led off with my four strongest reactions and then listened for the next half hour while the others described what excited or troubled them. Most startling was how many of their observations I’d missed altogether.

Some of the differences were understandable, why single “eye witness accounts” are often unreliable and we want at least 8 or 12 people on a jury to be sharing their observations during deliberations. No one catches everything, even when you’re watching closely and trying to be insightful later on. Still, I thought I was better at this.

Missing key details and reaching the wrong (or woefully incomplete) conclusions affects much of our work and many of our relationships outside of it. Emotion blinds us. Fear inhibits us from looking long and hard enough. Bias makes us see what we want to see instead of what’s truly there. To get better at noticing involves acknowledging each of these tendencies and making the effort to override them. In other words, it involves putting as little interference as possible between us and what’s staring us in the face.

As luck would have it, a couple of interactive challenges involving our perceptive abilities crossed my transom this week. Given how much I missed in the documentary, I decided to play with both of them to see if looking without prior agendas or other distractions actually improved my ability to notice what’s in front of me. It was also a nice way to take a break from our 24-7 free-for-all in politics. As I sat down to write to you, I thought you might enjoy a brief escape into “how much you’re noticing” too.

The Pieter Bruegel painting above–called “The Battle Between Carnival and Lent”–is currently part of the largest-ever exhibition of the artist’s work at Vienna’s Kunsthistoriches Museum. Bruegel is a giant among Northern Renaissance painters but most of his canvases are in Europe so too few of us have actually seen one, and when we have, they’ve been in books where it’s all but impossible to see what’s actually going on in them. As it turns out, we’ve been missing quite a lot.

Conveniently, the current survey of the artist’s work includes a website that’s devoted to “taking a closer look,” including how Bruegel viewed one of the great moral divides of his time: between the anything goes spirit of Carnival (the traditional festival for ending the winter and welcoming the spring) and the tie-everything-down season of Lent (the interval of Christian fasting and penance before Good Friday and Easter). “The Battle Between Carnival and Lent” is a feast for noticing, and we’ll savor some of the highlights on its menu below.

First though, before this week I’d never heard about people who are known as “super recognizers.” They’re a very small group of men and women who can see a face (or the photo of one) and, even years later, pick that face out of a crowd with startling speed and accuracy. It’s not extraordinary memory but an entirely different way of reading and later recognizing a stranger’s face.

I heard one of these super recognizers being interviewedthis week about his time tracking down suspects and missing persons for Scotland Yard. His pride at bringing a remarkable skill to a valuable use was palpable–the pure joy of finding needles in a succession of haystacks. His interviewer also talked about a link to an on-line exercise for listeners to discover whether they too might be super recognizers. In other words, you can find out how good you are “with faces” and how well you stack up with your peers at recognizing them later on by testing your noticing skills here. Please let me know whether I’ve helped you to find a new and, from all indications, highly rewarding career. (The test’s administrators will be following up with you if you make the grade.)

Now back to Bruegel.

You can locate this central scene in “The Battle Between Carnival and Lent” in the lower middle range of the painting. Zooming in on it also reveals Bruegel’s greatest innovation as a painter. He gives us a birds-eye view of the full pageant of life that embraces his theme. It’s not the entire picture of “what it was like” in a Flemish town 500 years ago, but viewers had never before been able to get this close to “that much of it” before.

It’s also a canvas populated by peasants and merchants as opposed to saints and nobles. They are alone or in small groups, engaged in their own distinct activities while seemingly ignoring everyone else. In the profusion of life, it’s as if we dropped into the center of any city during lunch hour to eavesdrop.

The painting’s details show a figure representing Carnival on the left. He’s fat, riding a beer barrel and wearing a meat pie as a headdress. Clearly a butcher—from the profession that enabled much of the festival’s feasting—he holds a long spit with a roasted pig as his weapon for the battle to come. Lent, on the other hand, is a grim and gaunt male figure dressed like a nun, sitting on a cart drawn by a monk and real nun. The wagon holds traditional Lenten foods like pretzels, waffles and mussels, and Lent’s weapon of choice is an oven paddle holding a couple of fish, an apparent allusion to the parable of Jesus multiplying the loaves and the fishes for a hungry crowd. On one level then, the fight is over what we should eat at this time of year.

As the eye wanders beyond the comic joust, Carnival’s vicinity includes a tavern filled with revelers, on-lookers watching a popular farce called “The Dirty Bride” (that’s surely worth a closer look!) and a procession of lepers led by a bagpiper. On the other hand, Lent’s immediate orbit shows townsfolk drawing water from the well, giving alms to the poor and going to church (their airs of generosity equally worthy of closer attention).

Not unlike our divided society today, Bruegel painted while the battle for souls during the Reformation was on-going, but instead of taking sides, this painting seems to take an equal opportunity to mock hypocrisy, greed and gluttony wherever he found it, making this and others of his paintings among the first images of social protest since Romans scrawled graffiti on public walls 1200 years before. While earlier paintings by other artists carefully disguised any humor, Bruegel wants you to laugh with him at this spectacle of human folly.

It’s been argued that Bruegel also brings a more serious purpose to his light heartedness, criticizing the common folk by personifying them as a married couple guided by a fool with a burning torch—an image that can be found in almost in the exact center of the painting. The way they are being led suggests that they follow their distractions and baser instincts instead of reason and good judgment. Reinforcing the message is a rutting pig immediately below them (you can find more of him later), symbolizing the destruction that oblivious distraction can leave in its wake.

Everywhere else Bruegel invites his viewers to draw their own conclusions. You can follow this linkand notice for yourself the remarkable details of this painting along with others by the artist. Navigate the way that you would on a Google Map, by clicking the magnifying glass (+) or (-) to zoom in and out, while dragging your cursor to move around the canvas. Be sure to let me know whether you happen upon any of the following during your exploration (the circle dance, the strangely-clad gamblers with their edible game board, the man emptying a bucket on the head of a drunk) and whether you think Carnival or Lent seems to have won the battle.

Before wishing you a good week, I have a final recommendation that brings what we notice (say in a work of art) back to what we notice or fail to notice about one another every day.

The movie Museum Hours is about the relationship that develops between an older man and woman shortly after they meet. Johann used to be a road manager for a hard-rock band but now is a security guard at the same museum in Vienna that houses the Bruegel paintings. Anne has traveled from Canada to visit a cousin who’s been hospitalized and meets Johann as she traverses a strange city. During her visit, he becomes her interpreter, advocate for her cousin’s medical care, and eventually her tour guide. But just as he finds “the spectacle of spectatorship” at the museum “endlessly interesting” as he takes it in everyday, they both find the observations that they make about one another in the city’s coffee shops and bistros surprising and comforting.

Museum Hours is a movie about the rich details that are often overlooked in our exchanges with one another and that a super observer like Bruegel brings to his examination of everyday life. One of the film’s many reveals takes place in a scene between a tour guide at the museum (who is full of her own insights) and a group of visitors with their unvarnished interpretations in front of “The Battle Between Carnival and Lent” and other Bruegel paintings. You can view that film clip here, and ask yourself whether the guide is helping the visitors to see what is in front of them or diverting their attention away from it.

As we shuttle between two adults in deepening conversation and very different kinds of exchanges across Vienna, Museum Hours asks several questions, including what any of us hopes to gain from looking at famous paintings on the walls of a museum. As one of the movie’s reviewers wondered:

“Is it to look at fancy paintings and feel cultured, or is it to experience something more direct: to dare to unsheathe oneself of one’s expectations and inhibitions, and truly embrace what a work of art can offer? And then, how could one carry that open mindset to embrace all of life itself? With patient attention and quiet devotion, these are challenges that this film dares to tackle.”

That much open-mindedness is a heady prescription, and probably impossible to manage. But sometimes it’s good to be reminded about how much we’re missing, to remove at least some of our blinders, and to discover what we can still manage to notice when we try.

The long tail of summer always provides an opportunity to consider your life and work before it’s September again.

Taking a step back before stepping forward sometimes happens in the Christmas to New Years week too, but between then and now it’s easy to get caught up in your daily distractions until time-off slows you down into someone who can reflect again.

Heat, sand and ocean are lead characters in summer’s pause, particularly the ocean. Its surface moves, sparkles, crests and breaks: a skin of hyperactivity that endlessly draws your attention with its clutter of ridges and crashes, smells and spray. But diving in is something else again. Below its surface, the ocean is quiet and calm enough to leave the sand where it is. It’s a suspension of deeper, darker, blue, that doesn’t draw your attention as much as holding it.

So perhaps it’s fitting that The Dalai Lama wrote to America in the Wall Street Journal this week. (Sometimes when the mountain won’t come to you, you have to go to the mountain.) He probably knows that it’s best for him to visit at this time of year, when people are slowing down and might be more receptive. He writes because he’s alarmed by how little of our lives or work have been grounded in our obligations to love, be fair, seek justice, act generously, or respect the earth. He writes as if our connection to broader purposes had broken altogether.

Today the world faces a crisis related to lack of respect for spiritual principles and ethical values. Such virtues cannot be forced on society by legislation or by science, nor can fear inspire ethical conduct. Rather, people must have conviction in the worth of ethical principles, so that they want to live ethically.

Unfortunately, many don’t care, while others will say that they don’t have time.

The Dalai Lama knows this, of course. And there’s another thing he’s sure of. Wanting to live ethically requires “inner cultivation.” But, neither caring nor desire can be cultivated while you’re ricocheting from one demand or diversion to another. There’s simply no space for it.

When your days are like balls in a pinball machine, you work, you recover from your blows, you work again and recover some more, until it’s mid-July or the day after Christmas or you fall down broken.

When your days are like warm baths in small pleasures—amuse me/ shock me/like me, buy something/eat something/watch something—and the gratification is only interrupted when you’re pretending to work, there is no place for an inner life either.

Of course, you can be captivated by, literally be “a captive of” what’s happening on the surface in other ways too, but this part of summer always offers a chance to escape from whatever wheel of distraction you happen to be on.

A place for “inner cultivation” stands apart from the rushes of stimuli that are so easy to get lost in every day. It’s a space for wondering whether there are deeper satisfactions than the ones that you have now. It’s a time to explore whether you have the desire for anything more.

The “ethical conduct” that the Dalai Lama commends can only be found by leaving the sparkles, reflections, and wave action at the surface for the deep blue quiet that lies below.

It is where the active, noisy, and uneasy mind can find enough silence and calm to cultivate a future that can fill you out.

It is the only place where you can hear your wholehearted life beckoning.